Beck and Metrick explain the power, relevance, and need for ritual, describing the various types of rituals and their myths, symbols, and history, as well as how to prepare, perform, and complete rituals to honor each rite of passage in a truly personal way.
More than 150 inspired—and inspiring—novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians on how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do. Franz Kafka, frustrated with his living quarters and day job, wrote in a letter to Felice Bauer in 1912, “time is short, my strength is limited, the office is a horror, the apartment is noisy, and if a pleasant, straightforward life is not possible then one must try to wriggle through by subtle maneuvers.” Kafka is one of 161 minds who describe their daily rituals to get their work done, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks. Thomas Wolfe wrote standing up in the kitchen, the top of the refrigerator as his desk, dreamily fondling his “male configurations”.... Jean-Paul Sartre chewed on Corydrane tablets (a mix of amphetamine and aspirin), ingesting ten times the recommended dose each day ... Descartes liked to linger in bed, his mind wandering in sleep through woods, gardens, and enchanted palaces where he experienced “every pleasure imaginable.” Here are: Anthony Trollope, who demanded of himself that each morning he write three thousand words (250 words every fifteen minutes for three hours) before going off to his job at the postal service, which he kept for thirty-three years during the writing of more than two dozen books ... Karl Marx ... Woody Allen ... Agatha Christie ... George Balanchine, who did most of his work while ironing ... Leo Tolstoy ... Charles Dickens ... Pablo Picasso ... George Gershwin, who, said his brother Ira, worked for twelve hours a day from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers.... Here also are the daily rituals of Charles Darwin, Andy Warhol, John Updike, Twyla Tharp, Benjamin Franklin, William Faulkner, Jane Austen, Anne Rice, and Igor Stravinsky (he was never able to compose unless he was sure no one could hear him and, when blocked, stood on his head to “clear the brain”).
RITUAL ART OF INDIA shows the splendor and diversity of an art form that has enriched every stage of human life in India--and reveals the inward-seeking quality of relationship with the divine that exemplifies Indian ritual art. A stunning guide with over 100 color photos and 34 b&w photos.
Walter Benjamin was one of the most original cultural critics of the twentieth century. Illuminations includes his views on Kafka, with whom he felt a close personal affinity; his studies on Baudelaire and Proust; and his essays on Leskov and on Brecht's Epic Theater. Also included are his penetrating study "The Work of Art in the Age of Mechanical Reproduction," an enlightening discussion of translation as a literary mode, and Benjamin's theses on the philosophy of history. Hannah Arendt selected the essays for this volume and introduces them with a classic essay about Benjamin's life in dark times. Also included is a new preface by Leon Wieseltier that explores Benjamin's continued relevance for our times.
For nearly five centuries, lay religious groups throughout the Spanish-speaking world have staged elaborate public processions commemorating the events of Christ's passion during Holy Week. In the Golden Age, such processions featured extraordinarily lifelike sculpted images that were naturalistically painted, elaborately clothed and adorned, and surrounded by convincing stage properties and scenography--all of which combined to create a profound impression on spectators. Long dismissed as a minor form of popular art, these polychrome wood sculptures emerge from this book as a unique genre, one that can be best understood within its ritual context. Here, Susan Verdi Webster explores the Holy Week processions of penitential confraternities in Golden-Age Seville, for which many of Spain's greatest sculptors created some of the most illusionistic works ever. She demonstrates how the pivotal role of the sculptures in procession transformed them from carved wooden objects to catalysts for intense spiritual and emotional experiences shared by spectators in the streets. Drawing on extensive archival evidence and contemporary chronicles, Webster is among the first to examine in depth Spanish processional sculpture, its patrons, and its ritual function. Her inquiry wends through a kaleidoscopic variety of arenas--artistic, religious, social, cultural, and political--to provide a fascinating perspective on popular religious devotion in Golden-Age Spain and on a previously undervalued dimension of Spanish sculpture.
A leading scholar in the United States on Chinese archaeology challenges long-standing conceptions of the rise of political authority in ancient China. Questioning Marx's concept of an "Asiatic" mode of production, Wittfogel's "hydraulic hypothesis," and cultural-materialist theories on the importance of technology, K. C. Chang builds an impressive counterargument, one which ranges widely from recent archaeological discoveries to studies of mythology, ancient Chinese poetry, and the iconography of Shang food vessels.
This beautifully produced and lavishly illustrated book addresses the huge imbalance in appreciation and representation of African art. Museums, exhibitions, lavish catalogues, magazines, and publications on African art are largely dominated by non-African scholars and institutions. These imbalances lie in the economic and political discrepancies, the history of European colonialism in Africa, and the Western tradition of scholarship and public education on art, history and ethnography. Outside Africa, East African art has been assumed to be more or less non-existent. This is one of the few publications to have come out of Tanzania, bearing witness to the appreciation of sculptural art and its tradition in that country. The book arose out of a symposium on The Significance of Traditional Cultures for Today's Society which brought together Tanzanian and other experts organised by the National Museums of Tanzania and the German Cultural Centre in Dar es Salaam. Papers from that symposium, together with additional articles on the history and current state of sculpture in Tanzania, present art from an African perspective, and include contributions from Western scholars joining forces with African scholars. Sociological, ethnological and art historical approaches are included, illustrating sculpture as the prime example of fine art in Africa, both in its purely aesthetic sense and intricately linked with its ever changing cultural context.
Featuring hundreds of full-color photographs, paintings, figurines, crafts, and furniture Bali: Art, Ritual, Performance is an exploration of the very best Balinese culture has to offer. For nearly a century, mention of Bali has evoked images of a tropical paradise. But it is not only the beauty of the island that has attracted artists, dancers, celebrities and scholars. Bali is also famed for its vibrant performance and ritual arts traditions. Although the island is so small it can be circled in a day, it is home to more than 20,000 temples, and each of these produces annual festivals. Where ritual is such a part of daily life, one cannot draw clear lines between the secular and the religious arts. Bali: Art, Ritual, Performance presents a holistic view of the ways that art, ritual, and performance interrelate within the seamless fabric of Balinese life.
Walter Benjamin discusses whether art is diminished by the modern culture of mass replication, arriving at the conclusion that the aura or soul of an artwork is indeed removed by duplication. In an essay critical of modern fashion and manufacture, Benjamin decries how new technology affects art. The notion of fine arts is threatened by an absence of scarcity; an affair which diminishes the authenticity and essence of the artist's work. Though the process of art replication dates to classical antiquity, only the modern era allows for a mass quantity of prints or mass production. Given that the unique aura of an artist's work, and the reaction it provokes in those who see it, is diminished, Benjamin posits that artwork is much more political in significance. The style of modern propaganda, of the use of art for the purpose of generating raw emotion or arousing belief, is likely to become more prevalent versus the old-fashioned production of simpler beauty or meaning in a cultural or religious context.